《彼得·马洛：英国大教堂》摄影展，英国 / Peter Marlow
由旨在延续彼得·马洛遗产的慈善机构——彼得·马洛基金会（Peter Marlow Foundation）组织，本次展览希望将这组空灵而诗意的影像作品带到他在英格兰摄影朝圣之旅中探访的42座大教堂中进行展出。南华克大教堂（Southwark Cathedral）是这42座大教堂中第29座举办该展览的场所，而此次巡展已进入持续举办的第11个年头。《彼得·马洛：英国大教堂》（Peter Marlow: The English Cathedral）邀请观众通过彼得·马洛的镜头展开一场视觉旅程，在关闭所有现代人工照明的情况下，以自然光的变化捕捉大教堂空间的本质。
Organised by the Peter Marlow Foundation, the charity set up to continue Peter’s legacy, the aim is that this ethereal collection of images will exhibit at each of the 42 cathedrals he visited on his photographic pilgrimage across England. Southwark Cathedral is the 29th of the 42 cathedrals to host the exhibition, which is in the 11th year of its ongoing tour. The exhibition, Peter Marlow: The English Cathedral, invites visitors to embark on a visual journey through the lens of Peter Marlow, capturing the essence of the Cathedral in a play of natural light with all modern artificial lighting turned off.
▼曼切斯特大教堂，Manchester Cathedral
彼得·马洛拍摄的南华克大教堂影像，以富有感染力的方式将观者带回这一场所悠久的中世纪根源之中，引导人们凝视其充满戏剧性的哥特式内部空间。彼得·马洛（Peter Marlow，1952年出生于英国，2016年逝世）于2008年受英国皇家邮政委托，在圣保罗大教堂建成300周年之际，为纪念邮票拍摄了六座英国圣公会大教堂。最初拍摄过程中，他便被这些宏伟壮丽的内部空间深深吸引，随后决定完成对全部42座大教堂的摄影记录。在接下来的三年里，他以埃德温·史密斯（Edwin Smith）与奥利芙·库克（Olive Cook）于1989年出版的《英国大教堂》（English Cathedrals）以及一套英国圣公会大教堂 Top Trumps 卡牌作为引导，踏上了这场摄影之旅。
Peter’s photographic portrait of Southwark Cathedral evocatively transports the viewer back to the site’s historic medieval roots by inviting contemplation of its dramatic gothic interior. Peter Marlow (b. UK, 1952 – 2016) was commissioned in 2008 by Royal Mail on the 300th year anniversary of the completion of St Paul’s Cathedral to photograph six Anglican Cathedrals that were issued as commemorative stamps. So taken was he by these initial magnificent interiors that he set out to photograph all 42, guided over the next three years by a copy of English Cathedrals (1989) by Edwin Smith and Olive Cook and a pack of Anglican Cathedrals of England Top Trumps Cards.
▼德比座堂，Derby Cathedral
▼彼得伯勒大教堂，Peterborough Cathedral
1400多年来，南华克大教堂一直是基督教礼拜的重要场所，并拥有厚重而意义深远的历史。它常被视为一座属于那些处于信仰或社会边缘之人的大教堂，坐落于伦敦最具活力与多元文化的社区之一，并与众多著名且具有影响力的人物产生过联系，包括圣托马斯·贝克特（St Thomas Becket）、杰弗里·乔叟（Geoffrey Chaucer）、威廉·莎士比亚（William Shakespeare）以及查尔斯·狄更斯（Charles Dickens）。
For more than 1400 years Southwark Cathedral has been a site of Christian worship and possesses a momentous and significant history. Often regarded as a Cathedral for those who feel on the edges of faith or society, it exists in one of the most vibrant and diverse communities in London and has had links with many famous and influential characters including St Thomas Becket, Geoffrey Chaucer, William Shakespeare, and Charles Dickens.
▼罗切斯特大教堂，Rochester Cathedral
▼南华克座堂，Southwark Cathedral
这些影像在构图与技术设置上看似简单，却是在经过大量实验之后才形成的最终方法。彼得探索出了一套理想策略，用于记录这些宏大的内部空间，并突出不同建筑之间丰富多样的建筑细节。他使用大画幅胶片进行拍摄，仅依靠自然光，并几乎在所有大教堂中选择同一拍摄位置——朝向东方，面向中殿与祭坛，让清晨的光线穿过主窗洒入空间。通过确保所有人工照明均被关闭——这在许多长期保持灯光开启的大教堂中十分罕见——他捕捉到了大教堂从黑暗中逐渐浮现的状态，仿佛悬置于时间之外，并脱离现代时代的干扰。这一最终成果可以被视为英国教堂摄影悠久传统的一次当代延续，其源头可追溯至19世纪末弗雷德里克·埃文斯（Frederik Evans）的摄影作品，以及20世纪中叶埃德温·史密斯（Edwin Smith）的创作。
The images appear deceptively simple in their composition and technical set-up. It was after much experimentation that Peter developed the perfect strategy to document these huge interior spaces and to highlight the many varied architectural nuances between the buildings. Shooting on large format film using only natural light, he set up in the same position at nearly all of the cathedrals – looking east towards the nave and altar as the dawn light streamed through the main window. By ensuring all artificial lighting was turned off, a rarity in many of these buildings whose lights remain on constantly, he captured the cathedrals emerging from the darkness as if suspended in time and removed from the modern age. This end result can be regarded as a contemporary update to the long tradition of church photography in England, namely Frederik Evans’ late 19th century imagery and Edwin Smith’s mid- 20th century work.
▼乌斯特大教堂，Worcester Cathedral
彼得非凡的摄影作品，使英格兰一些最宏伟建筑内部空间的完整壮丽得以清晰呈现。这些建筑不仅是精神力量的象征，也是建筑力量的伟大体现。
Peter’s remarkable photographs bring into sharp relief the full splendour of the interiors of some of England’s most magnificent buildings, great symbols of spiritual and architectural power.
▼彼得·马洛正在拍摄圣埃德蒙兹伯里大教堂，
Peter Marlow photographing St Edmundsbury Cathedral
▼2011年夏季参观北部大教堂的行程规划笔记及地图，
Planning notes and map for visits to the northern cathedrals, Summer 2011
在拍摄这一系列42座英国圣公会大教堂时，彼得在拍摄最终呈现在展览中的照片之前，以及整个拍摄过程中，都进行了大量时间投入与充分准备。其中一个重要步骤，是使用富士 FP 100 即时胶片测试每一次拍摄的视角与曝光效果。为了纪念这一过程，富士胶片公司在巡展期间为展览提供了instax相机与胶片。观众受邀在展览现场拍摄展览空间以及参观者的影像，并参考彼得的几位Magnum摄影师同僚——艾略特·厄威特（Elliott Erwitt）、大卫·西摩（David Seymour，Chim）、克里斯·斯蒂尔-珀金斯（Chris Steele-Perkins）、斯图尔特·富兰克林（Stuart Franklin）和大卫·赫恩（David Hurn）——所创作的示例照片。
When he photographed the 42 Anglican cathedrals for the series, Peter took extensive time and preparation prior to and during the process in capturing the final photograph displayed here in the exhibition. Part of this process was the use of Fujifilm FP 100 Instant film to test the view and the exposure of each shot. In recognition of this Fujifilm has supplied instax cameras and film at the exhibitions on the tour. Visitors are asked to take photographs of the exhibition in-situ at Truro Cathedral and the visitors it attracts, utilising the example photographs by some of Peter’s fellow Magnum photographers, Elliott Erwitt, David Seymour (Chim), Chris Steele-Perkins, Stuart Franklin and David Hurn.
▼马洛用来检查胶片上最终照片的曝光时间和构图的原始即时成像照片。曼彻斯特大教堂，2011，
The original instant image used by Marlow to check the exposure time and composition of his final shot on film. Manchester Cathedral, 2011
▼马洛用来检查最终胶片照片的曝光时间和构图的原始即时成像照片。罗切斯特大教堂，2010年，
The original instant image used by Marlow to check the exposure time and composition of his final shot on film. Rochester Cathedral, 2010
这些即时照片将形成一个持续变化的互动展示，不仅作为展览的一部分进行呈现，也将在彼得·马洛基金会的社交媒体渠道与官方网站上分享，从而创造公众对于这些作品的当代回应。这些即时影像也帮助彼得能够立即判断构图效果，同时形成一组额外的配套摄影作品。每一座举办展览的大教堂，彼得·马洛基金会都会从贡献摄影作品的观众中选出一位获奖者，并授予其一幅由大教堂摄影作品中任选的限量版收藏级精美艺术微喷作品（Estate Stamped Fine Print）。
These instant photographs will create an interactive ever-changing display that will be shared as part of the exhibition but also on the social media channels and website of the Peter Marlow Foundation to create a contemporary public response to the works. Having these instant images allowed Peter to make an immediate assessment of the composition as well as creating an additional accompanying set of photographs. For each hosting cathedral, Peter Marlow Foundation will choose a winner from those visitors who have contributed a photograph. This person will be awarded an Estate Stamped Fine Print of a cathedral photograph of their choice.
▼马洛用来检查胶片上最终照片的曝光时间和构图的原始即时成像照片。彼得伯勒大教堂，2010年 ，
The original instant image used by Marlow to check the exposure time and composition of his final shot on film. Peterborough Cathedral, 2010
▼马洛用来检查其最终胶片作品《南华克大教堂》（2010年）的曝光时间和构图的原始即时成像照片，
The original instant image used by Marlow to check the exposure time and composition of his final shot on film Southwark Cathedral, 2010
彼得·马洛《英国大教堂》的摄影专著由 Merrell 于2012年出版，并于2015年推出第二版，已售罄。该书收录了伦敦维多利亚与阿尔伯特博物馆（V&A）摄影高级策展人马丁·巴恩斯（Martin Barnes）以及《Country Life》杂志建筑编辑约翰·古德尔（John Goodall）的文章，同时包含彼得本人对于“大教堂岁月”的记录，以及他对于如何实现这些高度细腻影像的技术说明。《英国大教堂》巡展的启动得到了维多利亚与阿尔伯特博物馆及其摄影收藏采购委员会的大力资助。完整的一套摄影作品现收藏于V&A永久馆藏之中。
A sold-out monograph of Peter Marlow’s The English Cathedral was published by Merrell in 2012 with a second edition in 2015. Featuring texts by Martin Barnes, Senior Curator of Photographs at the Victoria and Albert Museum (V&A) London, and John Goodall, architectural editor of Country Life magazine, it also includes Peter’s own account of his ‘cathedral days’ as well as his technical commentary of how he achieved these intensely detailed images. The initiation of The English Cathedral tour was generously funded by the Victoria and Albert Museum and their Photographs Acquisition Group. A full set of the prints are held in the V&A’s permanent collection.
▼马洛用来检查最终胶片照片的曝光时间和构图的原始即时成像照片。伍斯特大教堂，2010年 ，
The original instant image used by Marlow to check the exposure time and composition of his final shot on film. Worcester Cathedral, 2010
